L. S. Lowry quote: I am a simple man and I use simple materials... Quotes › Authors › L › L. S. Lowry › I am a simple man and... I am a simple man and I use simple materials: Ivory Black, Vermilion, Prussian Blue, Yellow Ochre, Flake White and no medium. That’s all I’ve ever used in my paintings. His Life and Career LS Lowry - His Life and Career Art School 1905 "If people call me a Sunday painter I'm a Sunday painter who paints every day of the week!" Lowry was always irritated by people who thought he was an amateur painter, self-taught and untutored. "Started when I was fifteen. Don't know why. Aunt said I was no good for anything else, so they might as well send me to Art School..." In 1905 he began evening classes in antique and freehand drawing. He was to study both in the Manchester Academy of Fine Art and at Salford Royal Technical College in Peel Park. Academic records show him still attending classes in the 1920s.

Lowry knew from his teachers - people like the Frenchman Adolphe Valette - how French Impressionism had changed the painting of landscapes and the modern city. He knew from exhibitions in Manchester what the current trends in modern art were, and deeply admired Pre-Raphaelites like Ford Madox Brown and Rossetti. Far from being a naïve Sunday painter, Lowry was an artist looking for his own distinctive way of painting and drawing - and for a subject matter he could make his own, preferring eventually the view from the Technical College window to that of the posed model. A Painter's Vision, 1920 In his early years Lowry lived in the leafy Manchester suburb of Victoria Park. Then lack of money obliged his family to move to Station Road, Pendlebury, where factory chimneys were a more familiar sight then trees. Lowry would recall "At first I detested it, and then, after years I got pretty interested in it, then obsessed by it." The subjects for his paintings were on his doorstep. In later life he recalled this as a sort of vision.

"One day I missed a train from Pendlebury - (a place) I had ignored for seven years - and as I left the station I saw the Acme Spinning Company's mill … The huge black framework of rows of yellow-lit windows standing up against the sad, damp charged afternoon sky. The mill was turning out... I watched this scene - which I'd looked at many times without seeing - with rapture..." An Appreciation, 1921 A writer in The Guardian newspaper, Bernard Taylor, recognised the real quality of Lowry's work, when he reviewed one of the artist's earliest exhibitions. "Mr Laurence S Lowry has a very interesting and individual outlook. His subjects are Manchester and Lancashire street scenes, interpreted with technical means as yet imperfect, but with real imagination... We hear a great deal nowadays about recovering the simplicity of vision of primitives in art. These pictures are authentically primitive, the real thing not an artificially cultivated likeness to it.

The problems of representation are solved not by reference to established conventions, but by sheer determination to express what the artist has felt, whether the result is according to rule or not..." The Industrial Scene late 1920s - 1930s Lowry worked as rent collector for the Pall Mall Property Company. He did not tell people about his work because he did not want them to think of him as a spare-time painter. His job led to him walking all over the city. What did he see? Children playing in the streets, people returning from work, going off to work, gossip on the front steps, incidents, market places and Whit-processions. But all this changed in his lifetime: blitz and rebuilding, slum clearances and new housing, changed the face of the city he had observed so well. "I saw the industrial scene and I was affected by it. I tried to paint it all the time. I tried to paint the industrial scene as best I could. It wasn't easy. Well, a camera could have done the scene straight off." Artist at Work Lowry felt that drawings were as hard to do as painting.

He worked the surface of his drawings by smudging, erasing and rubbing the pencil lines on his paper to build the atmosphere of the drawing. He was always doing quick sketches on the spot on whatever paper he had in his pockets. Lowry carefully composed his pictures in a painting room at home and took great care over placing each figure. Late in life he would sit before a canvas or board on his easel and not know what was going to be in the painting until he started working. He called them "dreamscapes". Bernard Taylor made the suggestion that helped Lowry to get into his painting the stark figures and the pallor of the industrial sky that he wanted. Taylor suggested he painted on a pure white background. Lowry experimented with layers of white paint on boards, leaving them for a time so the surface went creamy. Colour Lowry used a very basic range of colours, which he mixed on his palette and painted on the white background. "I am a simple man, and I use simple materials: ivory, black, vermilion (red), Prussian blue, yellow ochre, flake white and no medium (e.g. linseed oil). That's all I've ever used in my paintings. I like oils...

I like a medium you can work into over a period of time". Looking closely at the surface of Lowry's paintings shows us the variety of ways he worked the paint with brushes (using both ends), with his fingers and with sticks or a nail. Some paintings are painted over other images. The 1938 painting Head of a Man (Man with Red Eyes) when x-rayed showed a female portrait and possibly a self-portrait underneath. He was once asked what he did with his old suits. "Wear them", came the reply! He certainly wore them to paint in, wiping the brushes on his lapels and sleeves. Desolation Row 1930s - 1940s Lowry's father died in 1932. For the next seven years, his 73 year old mother became 'bed fast' and completely ruled her son's life. After her death in 1939, Lowry painted The Bedroom Pendlebury - in memory of those long hours he spent looking after her. She always demanded his attention. Lowry would only get to his painting room late at night after she had settled.

"She did not understand my painting, but she understood me and that was enough." These were years of isolation and growing despair, reflected in Lowry's paintings. They depict derelict buildings and wastelands as mirrors of himself. As an official war artist - himself emotionally blitzed - he drew the ruined shells of bombed-out buildings. In1939, the year his mother died - the person he most wanted to please - he tasted success with his first London exhibition. "After she died, I lost all interest." Continuing to paint was his "salvation". Private Man, Public Figure 1950s - 1970s Just when Lowry began to have success he was moving away from the subjects that everybody wanted him to paint. "Had I not been lonely none of my works would have happened". Some of his most powerful pictures are deserted landscapes and seascapes. Some of the most difficult pictures to like are of solitary figures and down and outs. "I feel more strongly about these people than I ever did about the industrial scene. They are real people, sad people. I'm attracted to sadness and there are some very sad things. I feel like them." Everything came too late for Lowry.

But his late years saw him become a popular celebrity. He also became preoccupied about whether his art would last. "Will I live?" he asked over and over again, like the art of the Pre-Raphaelites he collected and loved. From Childhood to Childhood 1976 "I painted from childhood to childhood." Lowry painted and drew into his old age - often protesting to interviewers that he had "given up", "packed it in". He died aged 88 in 1976 just months before a retrospective exhibition opened at the Royal Academy. It broke all attendance records for a twentieth century artist. Salford Museum & Art Gallery began collecting the artist's work in 1936 and gradually built up the collection which is now at the heart of the award-winning building bearing the artist's name, celebrating his art and transforming the cityscape again. Pier 8, Salford Quays, M50 3AZ Box Office: 0843 208 6000 Groups Line: 0843 208 6003 Calls to 08 numbers will cost 7p per minute plus your network operator’s access charge.

Adrian Hill Fine Art Contact Artists The paintings in the Fine Art collection have been carefully selected or sourced from artists achieving the prestigious stature of full membership of one, or more, of the Royal Federations, Societies and Institutes including the Royal Academy. Works of art will be added to the collection over time and the Fine Art gallery are always interested in securing new works for sale. Adrian Hill PPROI, RBA, RI, SGFA Born in Charlton, Kent in 1895, Adrian Hill was educated at Dulwich College. From 1912 -1914 he studied at St. John's Wood Art School. Adrian Hill was an official War Artist on the Western Front from 1917 - 1919. On his return he continued studying art at the Royal College of Art from 1919 - [...] Andrew King ROI, IEA, EAGMA Andrew King was born in Bedford in 1956. He studied at Hornsey College, London, where he gained a B.A Hons in Fine Art in 1978. In the same year he was awarded a ‘David Murray’ Scholarship by the R.A School.

He is currently a member of the R.A Reynolds Club. He has had paintings selected [...] BANKSY Banksy began his career as a graffiti artist in the early 1990s, in Bristol's graffiti gang DryBreadZ Crew. Although his early work was largely freehand, Banksy began using stencils on occasional works. In the late '90s, he began using stencils predominantly. His work became more widely recognized around Bristol and in London, as his signature [...] Brian Ryder ROI, PIEA Brian Ryder was born on the 1st of December 1944 in Freeland, Oxfordshire. He spent the greater majority of his working life in architect’s offices in London and the home counties before moving to East Anglia in 1987. In 1994 Brian, who had already taught painting and exhibited his work both in the UK and [...] Campbell Archibald Mellon ROI, RBA (1878- 1955 ) C.A. Mellon was born in Berkshire on June 16th 1878.

It was not until 1903, when his business career took him to Nottingham, that he first began to paint seriously and was most fortunate being taken under the wing of Carl Brenner, a nephew of B.W. Leader, R.A. After the First World War Campbell Mellon [...] David Curtis ROI, RSMA David Curtis was born in Doncaster in 1948. He was an enthusiastic young painter being inspired by the watercolour painter Edward Wesson. David headed an engineering design team until 1988 when he became a full time painter. He was elected to the Royal Society of Marine Arts in 1983 and a member of the Royal [...] David Hockney, OM, CH, RA Born in Bradford, England, in 1937, David Hockney attended art school in London before moving to Los Angeles in the 1960s. There, he painted his famous swimming pool paintings. In the 1970s, Hockney began working in photography, creating photo collages he called joiners.

He continues to create and exhibit art, and in 2011 he was [...] David Pilgrim ROI David (born 1975) is an oil painter for whom the regular discipline of drawing and making studies 'en plein air' has become an essential part of his art practice. He can be found out and about with his pochade box or easel in all weathers and seasons. In front of the subject David feels more [...] Deborah Walker RI, FRSA Deborah Walker RI, FRSA I currently live in Barton-under-Needwood and paint from my studio gallery, ‘the gallery @ Ridware Arts’, Hamstall Ridware, in the heart of rural Staffordshire on the banks of the River Blythe. My paintings are in many private collections throughout the UK; and in Japan, Germany, France, New Zealand, Australia and Finland. [...] Edward Noot, RBSA Edward Noott was born in 1965 and took a Foundation Course at the Cheltenham College of Art. From his early school days he was always drawn to paint the most colourful subjects available.

Whether working on a landscape, or flowers in a garden, he has an uncanny ability to transform sunlight to canvas and to [...] Edward Seago RWS, RBA (1910- 1974) Edward Seago was born in Norwich in 1910, the son of a coal merchant. Aged seven he developed a heart complaint so, whilst bedridden for several years he took to painting scenes from his bedroom window to help pass the time. His parents, who were ambitious for him to pursue a career in business, [...] Gerald Ackermann RI (1876- 1960) Gerald Ackermann was born in 1876 at Blackheath. He was educated at New College, Eastborne and studied art at Heatherleys and later at the Royal Academy schools. It was here that he won the Creswick prize in 1900. He exhibited 6 paintings at the Royal Academy and at the Royal Institute. He painted widely in [...] Graham Webber ROI, AIEA, EAGMA Graham was born in 1980 in North Essex near to 'Constable Country'.

Exhibiting regularly in East Anglia, Bristol and London, Graham's work is regularly shown at the annual exhibitions of The Royal Institute of Oil Painters, The Royal Society of Marine Artists and The Royal Society of British Artists at the Mall Galleries, London. Graham [...] HRH The Prince of Wales Hon. RI HRH The Prince of Wales has painted in watercolour since the mid 1970s, when the artist Edward Seago gave him a lesson. The Prince has also mentioned how growing up surrounded by works of art encouraged him to create his own sketches and paintings. For The Prince of Wales, painting and sketching is a relaxing [...] Ian Houston Ian Houston was born at Gravesend, Kent in 1934. Studying at the Royal College of Music in 1950 he began to study painting at the St. Martins School of Art. In 1956 he began to exhibit in London and met Edward Seago who worked alongside him aiding in his training and enthusing over his work [...] Jeremy Barlow ROI Jeremy Barlow ROI is of the country’s most distinguished landscape painters.

He has exhibited widely both in this country and in many parts of Europe, drawn to the radiant skies and relaxed outdoor life of the Mediterranean where he spends considerable time painting in France, Italy and Spain and recently further afield in Japan. In [...] Lawrence Stephen Lowry RA "I am a simple man and I use simple materials: ivory black, vermilion, Prussian blue, yellow ochre, flake white - and no medium" The paintings of L.S. Lowry, notes by Mervyn Levy Through the industrial scenes, landscape, seascapes and single figures, Lowry uses his canvas as a response to his observation of life. Each painting [...] Leonard Squirrell RWS, RE (1893- 1979) Squirrell was born and grew up in Ipswich. At the age of 15 he started at Ipswich School of Art and went on to win a gold medal in the National Competition for Schools of Art with his set of drawings.

He attended the Slade School of Art under Philip Wilson Steer [...] Lillias August RI Lillias currently uses watercolours with a limited palette of six basic colours (Ultramarine, Cerulean, Violet, Cadmium red, Cadmium yellow and Lemon yellow) and three extras (Burnt Sienna, Raw Sienna and Viridian). She uses the best quality paints and brushes on Saunders Waterford paper, which she stretches, however heavy, as she likes a solid [...] Lucy McKie ROI A portrait and still life painter, Lucy is a member of the Royal Institute of Oil Painters, and was born Yorkshire in 1974. In 2005, Prince Michael of Kent presented Lucy with the Barbara Tate Award for Oil Painting, and she was a finalist in the Winsor and Newton Young Artists Award in 2007. She [...] Michael Morgan RI ( 1928- 2014 ) MR MICHAEL MORGAN 2 June 1928 – 3 February 2014 Michael Morgan, who died recently aged 85, was an artist whose innovative style injected new life into the watercolour medium.

Influenced by the well known Cotswold artist John Blockley RI. Michael himself became a source of creative inspiration for many younger artists. Michael Morgan is [...] Peter Brown ROI, PS, NEAC Peter Brown was born in Reading on the 28th July 1967. He graduated from Manchester Polytechnic in 1990 with a BA in Fine Art. In 1993 he moved to Bath where he still lives with his wife Lisa and their five children. Peter is primarily a painter in oils, occasionally working in charcoal and pastel, [...] Prof. Ken Howard. OBE, RA, PPROI, PPNEAC Ken Howard was born in London and studied at the Hornsey College of Art from 1949 until 1953 continuing his education at the Royal College of Art 1955 until 1958, after his national service in the Royal Marines. In 1958 he won a British Council Scholarship to Florence. In 1973 and 1978 he was the [...] Richard Combes ROI, MFA Richard Combes ROI (MFA) Richard was born in Manchester and raised in Retford, Nottinghamshire.

He studied architecture at Liverpool University and went on to study for a Masters in Fine Art at the New York Academy of Art. Richard now continues to live in New York, splitting his time between the UK and the USA. [...] Roger Dellar ROI, RI, VPPS Roger Dellar was born in 1949 in Hertfordshire. Roger Dellar is a self-taught professional figurative artist who works in pastels, mixed media, oils and acrylics. His key interest lies in observing people in their varied environments and recording them with a particular concentration on effects of light. His paintings present an intimate and colourful interpretation [...] Rosa Sepple VPRI Rosa Sepple VPRI was born in 1951 in London of Italian/British parents, Luciana and James Wright. Her formative years were spent in Northern Italy, growing up with her Italian grandparents in Treviso, near Venice. Throughout these years she spent a great deal of time in the studio of her grandfather, Italian artist, Salvatore Casagrande.

On [...] Sir Alfred Munnings PRA, RWS Alfred Munnings was born 8 October 1878 at Mendham, Suffolk across the River Waveney from Harleston in Norfolk. His father ran a water-mill on the river at Mendham. At fourteen he was apprenticed to a Norwich printer, designing and drawing advertising posters for the next six years, attending the Norwich School of Art in his [...] Sir Peter Blake CBE, RDI, RA During the late 1950s, Blake became one of the best known British pop artists. His paintings from this time included imagery from advertisements, music hall entertainment, and wrestlers, often including collagedelements. Blake was included in group exhibitions at the Institute of Contemporary Arts and had his first solo exhibition in 1960. In the 'Young Contemporaries' exhibition of 1961 in which he exhibited [...] Tim Benson VPROI Tim Benson was born in London in 1978. He was educated at the Glasgow School of Art and Byam Shaw School of Art from 1998-2001.

He was elected an Associate Member of the Royal Institute of Oil Painters (ROI) in 2011 and elevated to Full membership the same year. At the 2013 ROI full council [...] How to choose a basic colour palette for acrylic painting How to choose a basic colour palette for acrylic painting by Will Kemp “I am a simple man, and I use simple materials: Ivory black, Vermilion (red), Prussian blue, Yellow ochre, Flake white and no medium. That’s all I’ve ever used in my paintings. L.S.Lowry A great deal of things in nature are actually very muted, it is often the difference between light and dark and warm and cool colours, rather than the use of a bright colour. If you want to paint subtle still life paintings, choose muted earth colours. If you want very bright, vivid abstracts, you might need some more man-made pigments that have a higher colour saturation. My suggested basic acrylic colour palette is somewhere in-between. It allows bright colour mixtures as well as subtle. The pigments are all light-fast (will not fade over time) and are a mixture of series (the price labelling system of paints) so the cost will be kept down….

In his book “Blue and Yellow don’t make Green”, Michael Wilcox talks extensively about the colour bias of paint. Colour bias happens due to the trace colours found in paint pigments. They can cause trouble when trying to mix bright clean colours when you use the wrong paint pigments. One way to overcome this problem is to have a palette that consists of two of each of the primary colours, red, yellow and blue. He recommends a palette of 6 colours, two primaries each. A red with an orange bias for mixing orange – Cadmium Red A red with a violet bias for mixing violet – Quinacridone Red A yellow with orange bias – Cadmium Yellow A yellow with green bias – Hansa Yellow A blue with green bias – Cerulean Blue A blue with a purple bias – Ultramarine Blue However, I find in practice, especially if you are just starting acrylic painting, this can be a tad overwhelming. How to start with 3 tubes of paint Now I know you are going to think this is a misprint but I would usually recommend starting with 3 tubes of paint consisting of a warm and a cool colour.

Burnt Umber (muted orange based brown) or Burnt sienna (brighter orange based brown) Ultramarine blue Titanium white But what happened to the primary colours? A great lesson you need to learn when trying to create professional looking paintings is the importance of value (how dark or light a subject is) It is so much more important than colour. Try to learn about value, learn about complementary colours (opposites) and you will start to understand the different qualities of paint. Moving from drawing to painting is hard enough without the distraction of trying to mix lots of colours if you force yourself to have less you will learn more about mass tone and undertone. Masstone & Undertone Colour – has both a masstone and an undertone Masstone – refers both to the tone if it was black and white (value) and its colour tone (hue).

Undertone – the colour produced when you scrape a small amount of paint over a white surface eg: Phthalo blue has a dark blue masstone and a yellow/green colour bias in undertone So if I say, “look at the tonal range in this painting,” this is exactly the same as saying “look at the value range in this painting.” You’d be amazed at the great paintings you can achieve with just a few colours. The painting below by Larine Chung uses just ultramarine blue, burnt sienna and titanium white. In this snowy scene “Coming Home” I’ve used burnt umber, ultramarine blue and titanium white. Okay, I understand this but it sounds serious.. I want bright colours! If you really want to get started with colour, below I’ve listed a basic acrylic colour palette that will help you achieve the next level in your painting. What acrylic colours should I buy to start with? To create 90% of the colours you will need for realistic painting use the following: Burnt Umber Phthalo Blue (Green Shade) Why do I need these particular colours?

Burnt Umber – although this looks very dark and dull it is really handy to have, both for blocking in the darks on portraits and for toning down colours. It is also invaluable in oil painting due to its quick drying time so it is a great pigment to get to know. Ultramarine Blue – sometimes beginners steer away from this blue because it is mentioned so often in art books and seems, well a bit boring, but it has good opacity, great for subtle skies and mixed with Burnt Umber will make a dark very close to black. Cadmium Yellow Light – good opacity for a yellow and just generally great! Alizarin Crimson Permanent – this will look too dark when you buy it and you’ll feel a bit disappointed, it also feels different than the other pigments because it has a gloss sheen to it and it very translucent. But a little goes a long way. Add some white to make a killer bright pink. Titanium White – good opacity, good coverage, goooood. Pro tip: make sure it is the permanent as other Alizarin Crimsons can be ‘fugitive’ colours and not have great lightfastness.

Look at some of Gainsboroughs portraits to see what happens if you use fugitive colours. Now with these four colours and white you can mix 90% of the colours you need. You might not believe me and still feel the urge to search for another palette. But for general landscapes, still life’s you won’t need anything else. Occasionally you will need 3 other colours, they are: Phthalo Blue (green shade) very high tinting strength, great for making very bright blues. Cadmium Red Light – if you want a really red red. Cadmium Yellow light and Alizarin crimson permanent can make a colour very close to cadmium red. Yellow Ochre – So here we have yellow ochre great for a coloured ground in acrylics and good to start to mix more subtle greens, if you unleash Hansa yellow and Phthalo blue we will have luminous green disasters. These are pigments that will work well both with acrylic and oil paint. It makes it very transferable when you are learning to paint. For a watercolour palette you may choose some more subtle tints that have a different undertone.

For a portrait palette I would use a more subtle palette please see: Michael De Greef October 5, 2011 Thank you for this post, I’ve been to the store today to get some supplies for acrylics and this post has been especially helpful on knowing which brand \ palette colours would be good to start off with. Looking back I see I’ve made a few slips with what colours I’ve bought… I’ve bought Golden Open | Burnt Umber – Titanium White – Ultramarine blue – Yellow Ochre – C.P. Cadmum Red Medium. I’ll atleast be able to try a hand at that 3 tube painting :). There were a few things that confused me while being in the store, one of the things was that Golden Open didn’t have “Alizarin Crimson Permanent”, only “Alizarin Crimson Hue” (Which can be a fugitive colour as you’ve said), so I was wondering about that. My main objective for the future will probably be trying out other primary colours with a different bias, but while looking at the tubes for information I realised that some colours have less or more opacity than eachother. Wouln’t that mean you’d have to get 4 of each primary?

(1 biasA transparant – 1 biasB transparant – 1 biasA opaque – 1 biasB opaque) Thank you in advanced for your reply :), Michael Will Kemp October 5, 2011 Hi Michael, It doesn’t sound like you’ve made any slip up on colour choice, they will all be useful. 1. Alizarin Crimson Permanent is made by Winsor & Newton. Historically Alizarin crimson used to be a fugitive colour, the Golden version of Alizarin crimson Hue however, is not. This is because it is a man-made alternative (that is what the ‘hue’ stands for, it means imitation’) that will stand the test of time so will not fade. 2. You can extend your primaries by usually having two of each primary colours, for example cadmium yellow (high opacity, red bias) and Hansa Yellow (low opacity, green bias) However, you definitely don’t need 4 of each. I use 1 x Cadmium Yellow light for 90% of my paintings and might use a tiny amount of Hansa Yellow for subtle glazing as the nature of the pigment of Hansa Yellow is transparent.

If you’ve bought Alizarin crimson Hue and added it to the paints you’ve already bought you can do loads with these, the only nice thing about Alizarin Crimson Permanent is you can go a lot brighter in your pinks. The Alizarin crimson Hue is what I use in portraits for glazing lips, cheeks etc, a very handy paint to have on your box because it is muted, and transparent. perfect for the subtle nature of portraits. Michael De Greef October 5, 2011 The tip about Alizarin crimson hue for portrait glazing is a golden one, I’ll probably get both Alizarin’s and give them both a go for various subjects. Thank you for your help :) (and so fast too!) Michael Jay Shah January 16, 2012 Thanks for such an informative website and taking the time to share your knowledge and experience. I am a beginner and about to purchase my first Acrylic paints but I am having difficulty deciding which quality as I have had conflicting advice to date.

I have just read your “8 key differences between Artist quality vs Student grade acrylic paints” and conclude from this that I am better off getting Artist quality paints as I would have less coverage and a greater colour shift with the lesser quality paint. However, would it be possible to mix the two, i.e., using Artist quality, but where necessary Student quality for under painting and for covering larger areas? I note that some do not have Alizarin Crimson so can I use, say this colour from W & N while my other colours are from AV Vallejo or Old Holland? Jay Jay Shah January 18, 2012 Mr. Kemp, Have you used the Artist’s Acrylic line by Pip Seymour? If so, any opinions? It is suggested that these do not have the same amount of filler as other Studio / Student quality paints, actually have high quality pigments, and is manufactured in England. I found your advice on mixing invaluable but it is tricky especially when mixing paints from different manufacturers (in my case the Alzarine Crimson Perm. by W & N and the other from ARA). Like you state, knowing the bias of each colour is important but surely I can find this information online or in books, can’t I?

Thanks Jay Shah January 19, 2012 I could not find the Wilcox book you mentioned but instead found ‘Colour Mixing Bible’ by Ian Sidaway. If anyone is interested, from an quick perusal, the book is useful but lacks emphasis on the 3 primary colours. However, Mr. Kemp, your advice in your reply is sound and I should learn the process through experience and personal preference rather than just reading instructions. I guess I am finding there is a lot to think about, from the quality of supports and surfaces, priming, through to using the correct brushes and how to mix colours, mediums and gels. I just thought trying to remember colour biases might be a bit of a stretch at this time but I experience will make it easier. Thanks Daniel August 13, 2012 Hi Will, this is Daniel from Colombia. I’ve been watching your videos and reading some of your stuff. I’m 19 years old and I really appreciate your work, you’ve done such and amazing job. I wanted to thank you for your help, it’s useful.

I’ve been painting for about 4 years and I’d love to go to another country, because it’s almost impossible to get a job as an artist here in Colombia, so I was wondering if you could send me information about scholarhips in the US or Europe, I’d love to apply for some of them so I can continue painting and doing what I really love. Sorry if i’m, bothering you and about my english. Thanks for your time. Daniel Brenda August 13, 2012 Hi Will just found your site. I’ve been out of the painting practice for quite some time. My daughter and her husband just contracted to build a new home and want me to supply all the artwork for it. I really need to practice painting techniques before attempting to help them. Do you have any suggestions as to where to start? They intend to make their home a showcase for my artwork so I would like any tips you may have as to how to make my paintings look more professional as well as adding more value to their collection. :) Gary August 19, 2012 Thanks so much Will. The uluru painting looks OK, not perfect by any means but better with the tips I’ve picked up from your site.

I will try and mix another reddish colour tomorrow with the advice you’ve just given me and see if I can get a more vibrant colour than I have at the moment. Im going to try the landscape exercise this week. Your site has given me a bit more confidence. And I now better understand hue and tone etc as well as tips on mixing. One thing I have discovered this weekend is how to blend using the right brush. In the past I had mostly harsh edges. And even though my Uluru painting isn’t perfect colour wise, I’m really happy with the blending. So thanks again. daniel September 27, 2012 Hi Will, as a newbie painter I am interested in mixing my own skin tones, but there are are so many recipes, I do not know where to start. I recently purchased a number of colours in acrylic, and was wondering if I could scale it down and keep it simple. My colours are cad red, crimson, yellow ochre, cad yellow, ultramarine blue, colbalt blue. I’m not sure if this is a good choice but feel free to add or substitute colours as you see fit. I’m looking for basic mixes for light, medium and dark caucasian .

any advice or recipes would be gratefully recieved. Many thanks Kristen February 7, 2013 Hi Will, First of all, love the website. I am a beginner is every sense of the word. I have got all the colors you listed above with a few exceptions. I couldn’t get Alizarin Crimson Permanent so I got the Hue one, which I read in a comment above is ok, just wouldn’t create the bright pinks the other would. Also, I couldn’t find an ivory black? So I got the General Bone Black. Hope thats ok. I’ve been browsing the internet and that’s how I came to your website, but I must say – I am still 100% stumped on what brushes to buy. Obviously cheap is fabulous to the budget, but I don’t want to get something I am going to have to replace in a month or don’t give me the results I want. Help? Kay Joseph May 6, 2013 Hi Will I randomly stumbled across your YouTube channel and your website and I have to say it’s really fantastic. Your amazing at explaining and you’ve cleared up many problems for me like why when I mix my colours they came out so crappy.

I didn’t understand the importance of artist quality (I’m a huge cheapskate!) and colour biases. You’re sight was like a light bulb moment for me and I’d like to really say thank-you and to keep helping us aspiring artist (we need you!). I’ll be sure to direct my newbie friends to your website :) Rich June 2, 2013 Will, I’m getting on in years and never tried painting before because I’m such a dreadful drawer. I’ve never gotten beyond stick figures. Maybe that’s why I’m so intrigued by abstracts. Anyway, I love combining colors and moving them around the canvas, seeing what develops “by accident.” My problem is that sometimes the colors fade or become weak as they dry. I apply them straight, without using water on the brush, figuring that the color would be stronger, or hold together better, but not always. Maybe I’m just using cheap paint, but what about the canvas. I’ve been using a medium texture surface. Does that make the paint break apart, so to speak? Would a fine surface canvas hold the paint together better? Thank you so much for your advice.

You’re a very talented artist (I’ve seen several of your videos — excellent) and a saint from heaven for sharing what you’ve learned. Even though I lack the talent to paint, I enjoy doing it anyway. Be well. Karlena Beth June 29, 2014 Hi Will. I noticed some of your videos on you tube a few months back while looking for some general painting tips. I’ve been painting for about two years and am in the art magnet area at my high school. At my school i am required to take at least two but up to four art classes a year! I have learned so much the past few years about acrylic painting but your website has been one of the best sources of my knowledge. My art is improving daily and I’m quite proud of some of my work. I owe some of my accomplishments as an artist to you! Thanks so much. Dan October 4, 2014 Hi will I have read somewhere that you can make burnt sienna from the four acrylic colors you have recommended . Is this true ? Also can a yellow ochre be made as well or very close to it . ,?

Using your recommended colors I have made some lovely greens oranges and muted colours using burnt umber so I thank you for that . After all this time of buying all the reds yellows and browns under the sun I finally thought , just go with what you have been advised . No more scrambled brains . ,! Also thank you for all the free advice you give to everyone you truly are an inspiration . I thank you … Jeroen December 15, 2014 Hi Will, Thanks for providing this great resource of information in regards to painting. A few weeks back I purchased my first course on your site. I’m back to acrylics from water based oil as thanks to you I’ve discovered the pasty heavy body Golden paints. I’m still a beginner / amateur though. Just wondering why no greens are part of the standard palette that you advise? Are they that easy to mix? All the different shades of green are really luring at me in the art supply store. My starter kit came with phthalo green (blue shade). Also wondering when to choose between hanse yellow medium and cadmium yellow medium hue. They look very very similar. It looks like hansa is more glossy though.

My current colours consist of: titanium white Denis December 19, 2014 Hi Will, sorry to trouble you…I am working on my first acrylic painting. I think I have a decent fix on my sky and 4 mountains. Now I am faced with an inland lake. I have looked at various videos, but nothing is clicking with me. No idea how to approach it. I had a navy-purple base, quite dark. Then went over it with a duller version of my sky. I haven’t got a clue of how to produce the gentle ripples I see. The central areas are quite reflective of the sky, bright, while some areas have navy, green, and almost black reflection. I don’t have a plan of attack. I can try anything, as I know I can go over it if it fails to work. Wish you could see the original and my current work. Any direction on this matter would be most welcome. Thank you sir. Denis December 21, 2014 Thank you for your thoughts Will. The video showing the application of masking fluid was very interesting. I have a better sense of how to approach the water portion of the painting, and it is much as you described.

Getting the varous tones in place, overlap of white and dark ripples. I keep a practice canvas of the same painting off to the side, and work on that until the right approach comes to me. Without formal training, it’s all about experimentation and ridding myself of the fear of messing up. This is my first painting, and I think I expect too much, or pressure myself too much to go from a to z from the getgo. Deep down, I do have a belief that I can find my way at anything. It’s a mindset, achieving a state of flow, shutting down the left brain, and working intuitively. I bought myself a gorgeous easel, and built up an arsenal of brushes. Previously was working on the flat surface of a table, without a filbert or fan brush. Once I get myself a credit card, I will be subscribing to one or more of your courses. I really enjoy what I am doing, and should have taken this up years ago. Best of holidays, stay well… Denis Robin April 20, 2015 Hi Will, I have recently discovered your site and it is amazing.

I have seen that you use Golden Acrylics (apart from Alizarin Crimson) but those are not easy to find in my country. funnilly I can order Golden but just big pots, not tubes. Liquitex and Vallejo are widelly spread and also Titan. I can also Winsor and Newton and most European brands online. Which one would you recommend me? If I go for Liquitex or Vallejo, do you have any suggestions about what colors (names) I should get for a basic palette?

Thank you, cinn pelot July 16, 2015 Hello Will Kemp right back at you first of all I would like to say you blew me out of the water what you have done and accomplished in your life for looking as young as you do in your picture blew me out of the water and if you’re not that young well then please call your parents and thank them for the wonderful DNA you have thank you so much for this section on acrylic painting colour theory I went out and bought all the colors you mentioned on that pic on this page everything you said and then put them in the same category but I can’t find the color quinacridone red or hands yellow this might be the wrong question to ask you but is there another color red that I can substitute or yellow that I can substitute the two for please don’t give me an F for the question the only way I can learn I saw this one color for the first time when I was out buying all my paints I never even heard of it or artist ever spoke of ihis unbleached titanium I had to get a tube of it what do you think of that color? I know sorry I don’t use I don’t use any!.

It’s all just one big sentence one great big long sentence I apologize to everybody forI followed your instructions on your website if you’re new start here and I went straight across and I never said Wow so many times in my life and I’m 62 I’ve been paying for over 30 years and I have learned so much and I can’t wait to learn more you have a beautiful website thank you for all your input and insight I can’t wait to get into your drawing Section part and most of all I want to think Google for turning me on to your site when I went and asked that question about mixing paint you came up and I punched in so take care have a good day you paint brush mastercleaner you bye bye Cinn Helen September 7, 2015 Hi Will, I’m so glad I found your website! I hope you can help me. When I signed up for a local intro to acrylic painting class, they sent me a Materials List. It says “NO HEAVY BODY or OPEN PAINTS”. Any thoughts on what I should buy? If they want soft body paints, why ask for a set of palette knives? Is it possible that an intro class would be all in soft body paints?

I don’t know what to make of this. Do these people know what they’re doing? Please help!!! Maybe I should just take your on-line course instead :) Thank You, Jack Harding January 7, 2016 Hi Will, I’ve found your videos hugely helpful. It’s rare to find an artist who’s brilliant but also makes the craft accessible to others. I’ve been getting back into painting recently, and realised that while I have some talent and have produced some paintings I’m pleased with before, my approach was basically instinctive. So I’m trying to learn some process for more reliable, consistent results. My basic question is about underpainting. Is it best just to use a single colour (e.g. burnt umber) to establish the tones before applying a wider range of colours on the upper layer? Or to create an underpainting using multiple colours that provide some variety e.g. white, burnt umber and ultramarine blue? Thanks very much, neurodiversity.com | l.s. lowry I'm a simple man, and I use simple materials. L.S.

Lowry "It has always been suspected that under many finished Lowry paintings hides a multitude of changes and different pictures - if only because we know Lowry often reused canvasses, especially during the war in the 1940s"... David Prudames The painter regularly visited Seaburn... At the height of his fame, when Lowry was known throughout the world, he could have travelled anywhere he wanted, yet he spent weeks at a time on the North East coastal resort. British Broadcasting Corporation ...a famous English artist born in Manchester. He lived mainly in nearby Salford... He had a highly distinctive style of painting, which often involved "matchstick men" figures of distant people in industrial scenes, using drab colours. Wikipedia You see, I'm a very lonely man. But I like to be lonely. I can go where I please. I don't have to worry about anybody. Had I not been lonely, none of my work would have happened. Andy Moore His work is a most distinctive and comprehensive record of the pre- and post World War Two northern industrial town.

Grove Fine Art According to one song sung by schoolchildren and on the 70s hit single by Brian and Michael, LS Lowry painted "matchstick men and matchstick cats and dogs". Simon Jeffrey, Guardian Unlimited UK Opinions expressed by the authors of pages to which this site links do not necessarily reflect this site developer's opinions. In other words: Sublime or ridiculous? You decide!

Question: Which painter said "I am a simple man, and I use simple materials"?
Answer: L S Lowry